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Once upon a Time: A Floating Opera, by John Barth
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A master novelist, with characteristic verve and playful flourishes, presents his life, staged as a sort of operatic cruise through memory, desire, vocation, and that life's adventures, despairs, loves, marriages, selves, and counterselves. 35,000 first printing. $35,000 ad/promo. Tour.
- Sales Rank: #1161952 in Books
- Published on: 1994-05
- Original language: English
- Number of items: 1
- Dimensions: 9.50" h x 6.50" w x 1.25" l,
- Binding: Hardcover
- 398 pages
From Publishers Weekly
The author's latest "excursion through time's funhouse" is an enjoyable rumination which takes the form of a three-act opera, complete with two entr'actes and numerous "arias" and recitatives. It even opens with a "Program Note," which describes the book as "a memoir bottled in a novel." Indeed, its protagonist is a 60-ish writer of fiction named John Barth, author of such playfully imaginative novels as Giles Goat-Boy and The Last Voyage of Somebody the Sailor . He and his wife take a Columbus quincentenary sail on Chesapeake Bay, but a tropical storm forces them deep into the Maryland tidal marshes, where they get lost. Later, when Barth takes the dinghy to look for a passage back to open water, he finds instead what he trepidatiously recognizes to be "a threshold"--the spot, in Joseph Campbell and Lord Raglan's schematic analysis of hero myths, where the hero begins his wandering. In the metaphysical zone he now enters, Barth encounters his estranged twin sister and his longtime friend and "counterself" Jerome Schreiber, who lead him on an extended literary version of "This Is Your Life." Barth's engaging scheme allows him to "revisit" his other novels--a theme he explored so well in Letters . His writing, as always dense with ideas and wordplay, is a joy to read. There is nothing simple or single-minded about Barth's vision, however, and casting himself in a redefined hero-role is just one aspect of this book. One curious detail is its subtitle: In Barth's first novel, The Floating Opera , the nihilist protagonist pours his life into an aquatic opera house, which, in the end, he attempts to blow up. What Once Upon a Time suggests is that the process of memoirization can be not only an act of self-preservation, but also one of self-destruction.
Copyright 1994 Reed Business Information, Inc.
From Library Journal
In Barth's 12th book, a middle-aged writer and his wife sail into a time warp in the "Chesapeake Triangle," a Tidewater version of the Bermuda Triangle. Presented as "a memoir bottled in a novel," the book focuses on Barth's development as a writer. Highlights include his childhood on Maryland's isolated Eastern Shore, his introduction to literature as a book-shelver in the Johns Hopkins library, and his pivotal role in the burgeoning postmodernist movement. Several chapters are devoted to Barth's influential early novels, especially The Floating Opera (1956), whose nihilistic ending was changed at the publisher's insistence, then later restored when Barth's career took off. Apart from its documentary value to literary historians, the book's main strength is its evocation of life on the Eastern Shore in the Thirties and Forties. Recommended for larger collections of postmodernism.
--Edward B. St. John, Loyola Law Sch. Lib., Los Angeles
Copyright 1994 Reed Business Information, Inc.
From Booklist
John Barth, who hasn't been heard from for some time but who many still regard as the greatest living American author, has always been known as a challenging and provocative parodist of the wacky passage we call "life." Here he becomes one of his own characters as he narrates an excursion on board a yacht navigating Chesapeake Bay. Barth correlates incidents of the man-against-nature sort with a series of narrative asides that he calls "arias" because they allow the narrator to introduce us to the personal aspects of his life even though by necessity they interrupt the flow of the story. It is through them that Barth relates his publishing and romantic history, a voyage separate from the literal one at hand but relevant to it inasmuch as both entail negotiation of a number of rocky shoals. Definite appeal for his enthusiasts, of which there are many. Brad Hooper
Most helpful customer reviews
12 of 14 people found the following review helpful.
Like the tide, Barth's stories cleanse and refresh our life
By A Customer
I suppose it is inevitable that, as the post-war boomers approach the big six-zero over the next decade, we will see a tidal flood of tender, soul-searching narratives. Boomers want to understand rather than simply experience life, and most have been frustrated by life's refusal to obey our expectations.
John Barth seems to have made such soul searching his life work, and I seem to have followed him book for book, life experience by life experience over the years.
A clever "academic" writer (read: "he writes like a dream but his wit sometimes overwhelms the story"), Barth has addressed boomer experience and frailty .
Seeming to be five to ten years ahead of boomers, his books have ranged from the tragedy resulting from a terribly botched abortion (long before we openly spoke of this horror), through the visionary and usually misguided quest of the idealist (Sot-Weed Factor and Giles Goatboy), the terrible pain of realizing one is an adult (the clever but exhausting Letters), to more leisurely and accessible mid-life reassessment as protagonists take "voyages" on the emotional seascape of middle age (Sabbatical, Tidewater Tales, Last Voyage of Somebody the Sailor, Once upon a Time...).
Each five years or so, I eagerly await his newest offering, devour it, and then feel frustrated when his literary games seem to detract from his story.
But, then, each time I realize (as if for the first time), the essential nature of his writing. Like the age-old games from which his writings spring (the quest/redemption stories of the Iliad and Oddessy, the "doomed" prophet stories of the Old and New Testaments, the mistaken identity games of Shakespeare and thousands of authors since, and the metaphor of story as voyage and voyage as growth from Chaucer, 1001 Nights, etc), Barth plays his games to remind us that the act of story telling *is* the experience, it *is* the reason we read: the experience of hearing ghost stories around the camp fire remains with us long long after we have forgotten the actual story.
And then I remember that, as a reader, I have no more "right" to expect neatness and closure in a Barth story than I have the right to expect neatness and closure in my own life. Try as we might, our own work, our own story is always in progress. And like Barth's beloved Tidewater, the ebb and flow of our own story defies our attempt to capture to master it.
In the end, life and Barth's stories remain as delightfully cleansing as the tide itself.
KRH [...]
0 of 0 people found the following review helpful.
A love story
By Cliff Sutherland
It's a love story. John Barth is my favorite author. He sacrificed his young marriage to career and then found love later in life after many years of success in that career. Any fan of Barth has to love this story.
0 of 0 people found the following review helpful.
Four Stars
By Barbara Jeanne Lindsley
Good reading for a child learning to read.
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